![]() Like "a convention of blind people is setting up blah blah" or "secret hypnosis of rich people blah blah" and Batman knows what to do because of the ink he sees on the desk, or a strange way of calling people, etc. ![]() But Robbins seems to think that broad social things are somehow better, even if the ending is still Batman making some goofy claim of detective work and busting some hood. Batman and Robin get picked on in more clever ways, often not by broad supervillains with key weaknesses. ![]() Once Frank Robbins takes over, it definitely gets better, but not in an innovative way. It creates a safety net as we wait for these neurotic funny types fall apart, due to the detective skills of Batman and Robin. A lot of villains who have broad MO's, like the Riddler telling you his crimes in advance, or the Joker's sense of whimsy, or the Scarecrow scaring, etc. ![]() It's a more refined version of a crappy methodology that both writers had worked on since like the 1950s, maybe earlier. The book starts with the slow trickling end of Gardner Fox as the primary writer (his contemporary John Broome also sneaks in an issue of Detective Comics). ![]()
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